22nd April Lesson Evaluation

Within todays lesson we showed Nicole and Becca the pieces we had created during Alex’s workshop – five stages of grief motif and the ‘Hero’s manipulating Claudio’. Once they had learnt and watched this, we discussed how and where we could fit them in within the performance. As they are mostly movement based, we agreed that the manipulation section could be used within a transition- aiming to get Claudio and Hero from the ‘anger’ bedroom scene to the foyer- suicide scene.

We experimented with different ways of doing this e.g. using the walls, contact work, the doors, different formations etc. in order to find a transition that would work/make sense and that the audience could all watch. We have some ideas of how this could work yet need to re-rehearse this as there is still more we can develop and improve!

This transition will be taking place straight after the anger bedroom scene therefore my idea about using ribbons would link together well. Within the bedroom scene the Hero’s manipulate/control Claudio with the ribbons tied to his wrists therefore we will be able to incorporate them into the transition- perhaps when trying to lure Claudio to his death?

Furthermore, we have decided that the five stages of grief motif can be used at random places throughout the entire piece- in all or most scenes there will be a Hero performing the movement in the background, representing the five stages of grief Claudio is going through in his mind (about Hero).

 

Bedroom scene:

 

Could be split to two parts- each Hero has two lines each

When most I wink, then do mine eyes best see,
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And, darkly bright, are bright in dark directed.
Then thou, whose shadow shadows doth make bright—
How would thy shadow’s form form happy show
To the clear day with thy much clearer light,
When to unseeing eyes thy shade shines so?

 

How would, I say, mine eyes be blessèd made
By looking on thee in the living day,
When in dead night thy fair imperfect shade
Through heavy sleep on sightless eyes doth stay?
All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.

 

Considering the script for my scene I have looked back over the sonnet I originally chose (for the love section). As I want most of the words/ expression to be spoken through the movement, I will cut down the amount of speech- perhaps only using half of the sonnet. Through doing this, each love Hero would have a short section of time to dance with Claudio where he will speak either one or two lines from the sonnet. This not only saves time within the music but ensures that the section doesn’t drag (seem too long and similar) and also leaves time for the main focus and point of the dance- fighting /anger. The love section should be brief and momentary as if in reflection of their relationship- the romance was brief yet the struggle and pain formed the majority of the relationship.

Ideas for scene outline- bedroom scene

1) Claudio is alone on the bed- use motif from lovesong ( he is stressed, confused and in pain from thinking about and seeing Hero again in the bingo scene)
2) five love Hero's ( dressed in red) join Claudio on the bed. Claudio will somehow have red ribbons attached to him ( perhaps tied round his arms) similar to Megan and Ellie's dance in physical theatre
3) the love Hero's will use these ribbons to manipulate and control Claudio's movements ( movement is passionate). This is where the love sonnet will be said. Each hero pulls Claudio towards them with the ribbon. They will perform a small section of movement together whilst Claudio speaks a few lines of the sonnet - before he is pulled away by another hero etc. continuous movement.
4) four of the love Hero's will go to stand up and pull Claudio with them ( whilst Amy is still on the bed). Claudio will begin to stand up to follow the four love Hero's
5) Amy will grab Claudio's hand pulling him back down to the bed- perform the love sequence. Here we will use red powder paint
6) death/ revenge hero enters the stage towards the end of the love duet
7) stands separate from Claudio and the other Hero's ( dressed in black) perhaps performing the five stages of grief motif
8) Claudio sees death/ revenge hero and starts to panic- breaks away from his happy illusion with the love Hero's and remembers the reasons  and consequences of their broken relationship
9) Claudio stands and stares at the black Hero whilst the remaining five love Hero's try to smother him again, making him panic more and feel claustrophobic. He pushes them away.
10) directs all his anger at the death/ revenge Hero -  one line taken from much ado ' she knows the heat of a luxurious bed'
11) death/ revenge hero and Claudio fight duet - movement which shows separation, struggle, anger and pain- whilst Claudio repeats the same line.
12) use of black powder paint ( by the end of this dance, Claudio will be covered in two different colours- red and black which signal the mixed emotions and memory of his relationship; passion and death.
13) as the music begins to fade, each love Hero runs towards Claudio yet he pushes them away in anger - finishes with all love Hero's lying separated around the room- lying in emotional pain
14) Claudio is left amongst them looking around, breathless and in panic.

(Music- Hans Zimmer, Time (inception))

Research into texts for the bedroom scene

For my assigned scene (the bedroom scene) I will need to find and chose relevant texts that I want to include alongside the movement. These texts don't necessarily have to be from our original play ' much ado about nothing' but can include other Shakespearian plays and sonnets. As seen from my scene outline ( shown in a separate post) I want to include two contrasting pieces of text- one which shows the love that was once present between Claudio and hero (spoken by Claudio to Hero) and one that is spoken by Claudio to the individual death/ revenge Hero. Within this scene I want the audience to witness the love that Claudio and Hero once shared (love Hero's and Claudio) and how this love was corrupted (Claudio and death/ revenge Hero). The fight between death hero and Claudio will perhaps give a further insight as to the reasons why this relationship fell apart and what led Hero to kill herself ( as this is not specified earlier, only suggested).

To begin researching possible texts for the love section, I researched scenes from Romeo and Juliet- particularly the balcony scene. However, this doesn't completely fit or make sense in context to our piece and both characters had a different attitude/ values towards love that wouldn't have been relevant within our modern adaptation. I have also watched and read much ado about nothing to search for possible texts however there were no long pieces of speech ( the comments of love towards Hero don't match what I am trying to achieve in this scene). Finally, I have research into sonnets and have found some possible speeches for Claudio - and their translations! Through doing this, there are also some sonnets which may be relevant to other scenes too which I can share with the rest of the group next rehearsal.

There was a scene from the visit where Ill and Clara are alone in Conrad's village wood, where Ill reminisces of the days they used to spend together when they were young. We staged this so that Ill would talk to one Clara at a time ( whilst the others reacted, giggled and ran around him as though they were still one person- and Ill only saw her as one person). I want to use this idea again for the love Hero's. Claudio will direct his sonnet and attention to one love hero at a time yet the others will still react and 'dance' perform around him.

Sonnet 132- (love section with the love Hero's)
Thine eyes I love, and they, as pitying me,
Knowing thy heart torment me with disdain,
Have put on black, and loving mourners be,
Looking with pretty ruth upon my pain;
And truly, not the morning sun of heav'n
Better becomes the gray cheeks of the east,
Nor that full star that ushers in the ev'n
Doth half that glory to the sober west,
As those two mourning eyes become thy face.
O let it then as well beseem thy heart
To mourn for me, since mourning doth thee grace,
And suit thy pity like in every part.
  Then will I swear beauty herself is black,
  And all they foul that thy complexion lack.

I love your eyes, and they seem to pity me, knowing I’m tormented by your disdain. In black, they look like mourners at a funeral, gazing at my pain with pretty compassion. And to tell the truth, the morning sun doesn’t look as good in the gray eastern sky, nor does the evening star look half as good in the western twilight, as those two mourning eyes look in your face. Oh, then I hope it would be just as beautiful for your heart to pity me, too, since mourning suits you so well, and for you to pity me with every other part of you to match. If you take pity on me, I’ll swear beauty itself is black, and everyone who doesn’t have your dark complexion is ugly.

Sonnet 71- before Claudio commits suicide or when he is alone in the bedroom?
No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vildest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it, for I love you so
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O if, I say, you look upon this verse
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
  Lest the wise world should look into your moan
  And mock you with me after I am gone.

When I am dead, mourn for me only as long as you hear the funeral bell telling the world that I’ve left this vile world to go live with the vile worms. No, if you read this line, don’t remember who wrote it, because I love you so much that I’d rather you forgot me than thought about me and became sad. I’m telling you, if you look at this poem when I’m, say, dissolved in the earth, don’t so much as utter my name but let your love die with me. Otherwise, the world, in all its wisdom, will investigate why you’re sad and use me to mock you, now that I am gone.

This sonnet is like the acceptance stage in the five stages of grief. Claudio has come to accept his fate and making the final choice- to kill himself and accept that this is the right choice. Considering that the final suicide scene is acceptance, Claudio could say this - perhaps to hero or himself before he dies ( as though hoping hero will be able to hear and acknowledge.

Sonnet 43- bedroom / love Hero's
When most I wink, then do mine eyes best see,
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And, darkly bright, are bright in dark directed.
Then thou, whose shadow shadows doth make bright—
How would thy shadow’s form form happy show
To the clear day with thy much clearer light,
When to unseeing eyes thy shade shines so?
How would, I say, mine eyes be blessèd made
By looking on thee in the living day,
When in dead night thy fair imperfect shade
Through heavy sleep on sightless eyes doth stay?
  All days are nights to see till I see thee,
  And nights bright days when dreams do show thee me.

My eyes work best when I’m asleep, because all day they look at things I don’t care about. When I sleep, my dreaming eyes alight on you and glitter brightly in the dark, having found your bright image there. Given that your shadowy dream-image brightens even the dark, how bright might you appear in daylight, when your own light is so much clearer? How bright, when your shadow shines so brightly to my eyes blinded by darkness? What good would it do my eyes to see you in the daytime when they already look at your beautiful image in the dead of night, as I sleep? Every day is as dark as night until I get to see you again, and every night is as bright as day when I see you in my dreams.

Sonnet 44- Claudio alone in bedroom or after death hero has left.
If the dull substance of my flesh were thought,
Injurious distance should not stop my way;
For then, despite of space, I would be brought
From limits far remote where thou dost stay.
No matter then although my foot did stand
Upon the farthest earth removed from thee,
For nimble thought can jump both sea and land
As soon as think the place where he would be.
But ah, thought kills me that I am not thought
To leap large lengths of miles when thou art gone,
But that so much of earth and water wrought,
I must attend time’s leisure with my moan,
  Receiving naughts by elements so slow

If I were made of thought instead of slow, dull flesh, this wicked distance between us wouldn’t keep me from where I wanted to be. No matter the distance—from the farthest possible regions—I would bring myself to where you are. It wouldn’t matter that my feet were standing on the spot on earth farthest from you: Thought is nimble enough to jump over both sea and land as quickly as it can think about the place it wants to be. But, ah, it’s killing me to think that I’m not made of thought and can’t leap over the many miles when you are gone. Instead my body is made of so much EARTH AND WATER that I have to fill the long time without you with my moans. The leaden, deep earth and slow, wet water of which I am made give me nothing but heavy tears.

10th April Rehearsal

1 ) What important discoveries were made during the rehearsal?

Within today's rehearsal we had a group workshop with Alex Packer. Within this workshop we made discoveries as to possible transitions (in the style of physical theatre), ways in which to introduce text and movement (combining), and movement motifs relevant to our theme 'the five stages of grief'.
In previous rehearsals, we have really been struggling with the devising and how to approach/start! Alex led some simple activities which then led onto the devising and creating movement or acting from this. An example was with the five stages of grief motif. To begin with, we agreed on five gestures that represented or portrayed each stage (denial, anger, depression, bargaining, and acceptance). We then linked these movements together with music, using pace (fast and slow) to add dynamic. This simple activity has created a motif which we are keen to use as Hero's motif- during scenes or transitions we could each take turns performing this. I will also consider using this within the bedroom scene as it could represent the different emotions that Hero is also experience - what is her intentions for coming back to haunt Claudio's mind? She must be suffering similar symptoms of desperation and loss as she now has to move on (as a ghost) without Claudio there with her, despite being mistreated in the past.

I really loved George and Amy's sequence using mime! They used the text from Claudio's main anger speech (when shaming Hero at the alter). George would speak a couple of lines whilst Amy mimed them, them she would suddenly switch to speaking the lines whilst Claudio mimed. This made it seem like they were both reliving a memory- they had replayed this memory in their mind many times and are now re-living the argument. This would work well within a flashback scene.  I want to take this idea of using mime for the bedroom scene - Claudio could repeat a couple of lines that the Hero's mime to, as though they're being shamed again.

2 ) What led to those discoveries?

As mentioned above, we were led to these discoveries through simple activities (using gesture) that were then developed and linked together. This will really help us in future when trying to devise! I now realise that we had been making the mistake of trying to devise too 'big' and 'straight away' (rushing in to devising without any research or source). This method of devising is similar to the frantic assembly physical theatre devising guide- they would each learn 8 different movements (which were created through improvisation tasks based around a theme or emotion) that were then linked together and expanded.

3 ) Towards where do those discoveries lead?

All of us have benefitted from this workshop in the way that we have learnt new approaches or devising techniques, understand how to link text and movement (and have been inspired by this, making it relevant to our own performance), and also have been inspired for new ideas e.g. The Hero motif.

I will be taking these devising methods and some of the movement we created for use within the bedroom scene. Before the workshop I had the idea of using red ribbons (red pieces of material) which all the Hero's used to control and manipulate Claudio. Taking the Hero motif, each Hero could perform the movements slowly (each move has an impact on Claudio- either makes him respond in pain, anger, frustration etc. as he says a relevant line to the text). Each time the Hero's move (onto the next movement in the motif) signals the change from one Hero to the next. The Hero's he disregards e.g. The bed hero, will try and get involved with the movement still, therefore resulting in Claudio pushing them back into the wardrobe.

4 ) Consider questions No. 1-3 except focus on important roadblocks/dead ends.

The roadblocks had been devising and knowing where/how to start! I feel that today we overcame these blocks as we were taught how to work around them in the workshop. If we get stuck in the future for similar reasons with devising, we can come back to this workshop, remembering what we were taught and trying a simple activity (it's better to start small than big!)

6 ) Reflect on transformational leadership.  How’s it going?  What actions does this suggest?

Now that we have each been assigned a scene, we will individually have a chance to take ownership and lead the rest of the group. This will give everyone a voice and ensures that our performance is a group contribution (we have all worked on it - not just led by one person!)

8 ) What is the most important thing that happened (or didn’t happen) in your recent rehearsal?  Unpack its importance.

Personally, I thought that the most important aspect of our rehearsal was the workshop with Alex. We have been struggling to devise and especially now that we are devising scenes individually, it will be so useful to have techniques and methods that will help us!
Also, when researching text for my scene I was having difficulty finding scenes relevant or understanding how I could link this to movement. Originally I had only considered the obvious (just reading the text off a page), however I have now been shown different (and more creative!) ways of using text.

9 ) What is the most important thing that could happen in your next rehearsal?  How will you shape the rehearsal in order to increase the odds of that “thing” happening?

Before the workshop, we created a timetable of the next two weeks- planning out exactly what would be happening in each lesson and ensuring that we gave each person the same amount of time to work on their individual scenes. The timetable is as follows:
Week one (after Easter)
Tuesday- the suicide scene (Jess), Wednesday- the canteen scene (Amy), Thursday- the bedroom scene (George) and transitions (Nicole), Friday- the opening (Becca)
Week two
Monday- recap the opening and canteen scenes (Becca and Amy),  Tuesday- transitions (Nicole) and recap suicide scene (Jess), Wednesday- depression scene (George), bedroom scene (me), Thursday - bedroom scene (me), Friday- bingo scene (Megan)
Week three
Monday- final suicide scene (Jess), Tuesday - recap suicide (Jess), Wednesday - recapping all scenes and run.

9th April Rehearsal

1 ) What important discoveries were made during the rehearsal?

Within today's rehearsal, our main aims were to finish blocking the bedroom + bingo scenes and to explore all the spaces for individual scenes. To begin, we began discussing the bedroom scene and how we could link text from the original - that Claudio could say. We have already agreed that Hero will be a silent character to reflect how Claudio used dominance, force and abuse to 'silence' her within their relationship. From this we discovered that our original song choice 'the way you move' didn't work as the tone of the scene is too serious - doesn't make sense and looks out of place. Further to this, the scene comes near the beginning (straight after the canteen scene). This was also confusing from the audiences perspective as Hero, as a character, has not yet been introduced therefore the audience won't understand that this is a flashback of Hero as dead! To clarify this, we have reordered the scenes in a more logical order- placing the bingo scene just before the bed scene. Here the audience will be introduced to the character of Hero and understand that she is now a ghost- haunting Claudio's memory.

We have also agreed on the use of powder paints to physically show what each Hero represents e.g. Black is revenge, red is love etc. by the end of the dance scene, Claudio will be covered in a mixture of colours- smothered in the different emotions and feelings Hero has now unburdened upon him.

Furthermore, we have each agreed to take a scene to be 'in charge' of. The person in charge of each scene will make the final decisions and provide a number if different ideas and devising techniques that could be used in this scene. The scene I will be working on is the bed scene- dance with all the Hero's

When exploring the different spaces, we tried a short improvisational scene with our characters (at the beginning of the show in the foyer). Here I discovered more about my character as the 'blue coat'. She is false, sarcastic, and has a bad relationship with the manger (they are constantly arguing) whilst at the same time trying to be friendly to guests.

2 ) What led to those discoveries?

Most of these discoveries were made either through improvisation, discussion or though research. For example I have lots of ideas for the bed scene after watching 'Lovesong' and reading through the frantic assembly devising physical theatre guide.

3 ) Towards where do those discoveries lead?

Now that we each have our individual scenes, I feel that our progression will increase. We will have a structured way of moving through rehearsals - can work on each scene at a time and more ideas/material will be offered.

Furthermore, towards the end of the rehearsal we developed the bingo scene through choreographing the dance, learning the song and harmonies, setting the performance where we will be performing and trying short improvisation scenes before and after. Putting this piece into context and developing our ideas from the previous rehearsal helped us to finish this scene (dance) and therefore gives us the ability to move on and work on the acting before and after. Having the bare structure e.g. The dance for the bingo scene, a small section of the dance for the bedroom scene, an improv for the opening scene etc. helps us to visualise the play as a whole and know where to improve/expand next rehearsal.

5 ) Reflect on dramatic action and conflict.  How’s it going?  What actions does this suggest?

As we have changed around the scene order, we have agreed that the climax scene should be the bed scene! Here, the four different emotions presented through Hero will provide the dramatic action and conflict- Revenge Hero will provoke fear and feelings of vulnerability, love Hero will provoke lust and reminiscence of romance (happiness), innocent Hero will provoke feelings of guilt and regret, and despair/angry Hero will provoke feelings of hate and confusion.

I need to ensure that these emotions are portrayed clearly within the scene. I have considered using images (placed on walls around the bedroom) to further imply what each colour represents e.g. A dark image (using mostly black figures) to show revenge. A mostly white image e.g perhaps a war photograph showing white flags?

I am also going to be using 'Cell block tango' from Chicago as influence - using red ribbons and sequences between the 'murderer' and man. This scene is a perfect portrayal of conflict (as described in stories and shown through their actions) and also dramatic action- as it is also one of the climax points/numbers within the show.

6 ) Reflect on transformational leadership.  How’s it going?  What actions does this suggest?

As we used today to assign scenes to individuals, we were able to put this into practise with the bingo scene. Megan is leading this scene therefore she was able to direct me and Amy when doing the show girl dance and through learning harmonies. Instead of taking complete control she allowed us to contribute and listened to our ideas - ensuring that we all agreed and had an input. This worked really well and hopefully we will be able to work through all the other scenes in a similar way.

7 ) Reflect on the journey of one or both of the actors with whom you are working.
I though Amy was really good when singing through the harmonies- she just needs to have more confidence in herself! Also, I loved how much enthusiasm and energy she was putting into the bingo dance, I need to try and match this!

8 ) What is the most important thing that happened (or didn’t happen) in your recent rehearsal?  Unpack its importance.

Unlike other rehearsals, I feel we got really far in terms of creating performance, usually we end up discussing or mapping out what we need to do next instead of physically improvising or trying out ideas! Furthermore, we each came to the rehearsal prepared with research and new ideas- this was important as it gave our rehearsal purpose and somewhere to 'lead' to.

Lesson Evaluation 3rd April

Within today's lesson we realised that we had come to a 'roadblock' within our devising process. With lack of research and knowledge of the original play, it is hard to transform or even base our own adaptation of 'much ado' on something we know little about. Using our research from yesterday 'the five stages of grief' we have assigned each step (denial, anger, depression, bargaining and acceptance) and a section of the play to individuals - where more thorough research and analysis will be shared back to the group. My section include bargaining and scene one, act one.

It is important that we go back to the beginning ( we have skipped an important step) as this will help us in future rehearsals. All of our knowledge/ main source of information will come from the original text which we can now use as a platform to move forwards. My research on bargaining is as follows:

Song- 'running up that hill' (Bo Bruce does a good cover). The lyrics reflect this idea of bargaining 'if I were to go, and make a deal with God, and get him to swap our places...'
This is relevant to how Claudio feels- guilty and wanting Hero back alive. Although we had initially decided that the bargaining scene would be the bingo, it could also work in the packing scene where he starts to regret and miss Hero (we could show this through flashbacks)- As part of his final thoughts/ desperation to do anything and 'bargain' before he takes his own life. Potential to be emotional and portray him as vulnerable- as in previous scenes we will be using humour.

Poem-
 Bargaining with yourself
lungs beating back and forth
like wary eyes
scared someone might see
and know you've lost it
gone so subtly that
not even you knew
(until this moment).
Not even you noticed
your anchor's been dragging for miles
But still, a bargain.
Self, I will act as though I'm sane
and in exchange
please illuminate me as to
what the hell has happened.
We'll shake on it.

This could be used as an insight to Claudio's mind. Nicole mentioned previously that we could have pictures around the hotel which gave clues as to what's going in Claudio's mind, his feelings, memories, future etc. perhaps this poem could also be framed - giving an insight as to how Claudio feels in this stage of grief 'bargaining'.

Lesson notes 2nd April

1 ) What important discoveries were made during the rehearsal?

Within today's rehearsal, our aim was to begin improvising and experimenting with lifts (Hero and Claudio) for the bedroom scene. Here, we wanted to create juxtaposition (conflicting attitudes and emotions that Claudio has towards his vision of hero). Originally we had decided to only use one hero for the bedroom scene however, we decided to try using all the Hero's (gradually increasing in number as the scene develops- starts with one hero which soon become a trio etc. as more Hero's appear). This reflects how Claudio starts to feel overwhelmed and struggles beneath her power. This becomes evident within the final scenes as Claudio becoming overwhelmed with guilt and the flashbacks of how he badly treated Hero.

2 ) What led to those discoveries?

Our inspiration for this scene was through frantic assembly videos- using physical theatre (particularly in bed scenes) to portray love and anger. There was one moment that we particularly liked- a man and woman duet in a bedroom. Similarly to our piece, the movement signified feelings of love and anger. Each time the movement became more violent and rough, the man would put the woman in his closet/wardrobe. Taking this idea, the Hero's could come out of the wardrobe- one at a time as the scene builds. Therefore the wardrobe could be metaphoric for memories and his mixed emotions/ feelings towards Hero. For example, the first Hero that comes out of the wardrobe could represent love, therefore the movement is gentle yet passionate. The next Hero could represent frustration therefore the movement is more violent, perhaps with bigger lifts and moments of solo dance? Other emotions that could be explored include fear, anger, happiness, joy, hate etc.

Furthermore, we began to use Pinks music video 'try' as inspiration for the lifts. We like the contemporary style of her movement - lifts and dance reflect the same dance idea 'the difficulties of love in a relationship, contrasting between anger and love'. Another aspect of the video that we could use includes paint! Each time pink and her lover fight or end a lift in anger/pain, a new colour paint is thrown at a part of their body e.g. Heart, neck, legs. For each different Hero (who represents a different emotion) they could have their own individual colour of paint. For example love could be red, anger could be orange, frustration could be blue, happiness could be yellow etc. by the end of the performance Claudio is covered in different coloured powder paints. This is a visual way of presenting his emotions towards Hero, rather than wearing his feelings on the inside, he is wearing them physically on the outside!

3 ) Towards where do those discoveries lead?

Although we didn't get very far with the lifts, we now how lots of possible ideas to explore and build on in future rehearsals. We found the lifts difficult as we were trying to recreate them from the music video which presented confusion when working out how to get into and out of lifts. To help us progress with this and perform the lifts safely we are going to research and watch 'how to' videos on YouTube where we will be talked through and demonstrated each step.

4 ) Consider questions No. 1-3 except focus on important roadblocks/dead ends.

Particularly within this scene, the roadblocks will be a combination of mental and physical. The mental roadblocks will be our attitudes towards the dance and lifts e.g. Thinking we can't do something, being too scared to try, not trusting each other etc. whereas the physical roadblocks will include what each Hero and Claudio is physically able and fit to do. We are all at different stages and abilities within dance therefore some people will find certain movements or lifts easier than other. We have to ensure that we consider each of our strengths and weaknesses and construct movement that best suits an individual's capability.

5 ) Reflect on dramatic action and conflict.  How’s it going?  What actions does this suggest?

This scene especially explores a vast range of dramatic action and conflict- we cover a complete spectrum of emotions! As mentioned earlier, each Hero represents a different emotion therefore the movement within each section will have a different dynamic quality.

6 ) Reflect on transformational leadership.  How’s it going?  What actions does this suggest?

I feel that we all contributed within today's lesson however I know that I could have been more accepting to trying new ideas - especially the lifts! Despite this however I offered ideas (showing videos) and suggested different ways of trying lifts when we were figuring out how to move into/ out of lifts. Megan seemed to hold the lesson together as she was constantly trying out new ideas and was open to anything new, even if they went wrong! She also kept the rest of the group motivated and willing to continue.

7 ) Reflect on the journey of one or both of the actors with whom you are working.  How’s it going?  What needs to happen next?

When improvising scenes, I noticed that Amy really understood her character and had a good sense of how this character related to the others (within the original play and our adaptation) and therefore was able to make her relevant to the improv. The amount of knowledge and research she has done into the original play has helped me to realise how important and helpful this is- as it helps us to make more relevant and intelligent decisions. Learning from this, I will watch the film again (including the digital theatre version) and order a copy of the script to annotate.

8 ) What is the most important thing that happened (or didn’t happen) in your recent rehearsal?  Unpack its importance.

I think the most important thing that happened was that although we didn't achieve much in the end, we were able to start physically exploring our ideas and discovering what worked/ what could potentially work.

Further to this, we decided to try improvising in character (the beginning hotel reception scene). This didn't work out as well as we had planned - and was a clear indication of the research we still need to do! We didn't completely understand our characters and the improvisation went off topic and wasn't relevant to our play at all! This approach to devising doesn't entirely work with our company therefore we need to accept this and experiment with other methods of devising (once we have done more research into the play!)

9 ) What is the most important thing that could happen in your next rehearsal?  How will you shape the rehearsal in order to increase the odds of that “thing” happening?

I think the most important thing within our next rehearsal will to begin  systematically assigning parts of the play to different scenes. This will not only help us to research more into the play but will also develop and improve our current ideas for performance- give more substance and 'meaning'/ purpose.

10 ) Consider where you’re at in the grand scheme of all rehearsals.  How’s it going?  What actions does this suggest?
After today's lesson I have realised that we still have a long way to go! Although I initially thought we were ahead and could start on our devising, i know that I have skipped the most important step- this being 'thorough research'. There is so much more that we could include if we looked deeper e.g. Different themes, personalities and messages hidden within the text.